Devi Review

Devi (the goddess) directed by Satyajit Ray is centered on family, divinity and above all- tradition. The patriarch of the family believes a night-vision and places his daughter-in-law in a temple believing her to be the goddess Kali. The family each deals with this revelation differently. Each individual not only must decide if she is in fact a reincarnation, but more importantly each must come to terms with their own faith and beliefs.
The father, widowed and pious, depends upon the assistance of his daughter-in-law, Doya. Not only does the father become a symbol of tradition, but so does Doya as she willingly accepts her role as daughter and caregiver. However Uma, Doya’s husband, is quite different from his wife and father. He is an educated man, with aspirations of much more than praying to the gods. He, in a sense, becomes a symbol of westernization, of the future, of change. After the father’s great vision the balance between tradition and change is tipped, as father and son tug-of-war for one woman.

Doya is placed as a living statue of Kali-incarnate and not only do others have to struggle to determine her divinity, but she as well must make up her own mind. When first the father came to kneel at her feet she writhed against the wall, literally scratching into the walls, yet as various believers come to kneel at her feet she can only look on, unwilling to do more than neutrally watch. She continues to watch as people, young and old, are healed while she does nothing.
Yet, divinity is not meant for mere mortals, as is shown with Doya’s insanity at the weight and burden of divinity. It is not until her nephew is placed in her arms does the reality of this faux-divinity come to a head. She can only maintain such antics until she is placed with the reality of death. It is only at the end when Doya escapes to the fields, do viewers take a breath. A breath of relief of her freedom, but of bitter relief such literal freedom came at the expense of her sanity.
All the while Uma is grappling for her freedom. He not only has to go against his father’s faith and vision, but also convince his wife that she is not a goddess. Though he was raised with the same concept of deity, he has chosen a different belief, a “learning of a different kind.” He refuses to have his wife believe and accept the role which has been placed upon her as a divine being. Yet, as so many revolutionaries have found, change is not easily installed in the minds of traditionalist. His pleas and actions are hardly heard. Yet, they speak volumes to the cause of change.

Watching this as a Western female in the 21st century, I found myself struggling to maintain myself while I watched her. I felt such pity at the position in which she was placed, but even more I was a bit saddened that she could not simply say, “Enough is enough.” Yet, that is not my culture and it is simply my ignorant nature. The film’s plot and cinematography were a complex interplay of symbols, cultural traditions and faith. It truly is “learning of a different kind.”